MartinLogan I User manual

Brand: MartinLogan

Model: I

Type: User manual

This manual is also suitable for

C INEMA

user’s manual

c l s e l e c t r o s t a t i c

M ARTIN L OGAN

2 Contents & Introduction

CONTENTS &INTRODUCTION

Contents & Introduction . . . . . . . . . . . . . . . . . . . . . . . . .2

Contents

Introduction

Installation in Brief . . . . . . . . . . . . . . . . . . . . . . . . . . . . .3

Operation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .4

Low-Voltage Power Connection

Signal Connection

Using Only One Power Supply . . . . . . . . . . . . . . . . . . .5

Break-In

Installation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .6

Using the Adjustable Stand

Installation Options

Rubber Bumper Feet

Removing the Stand . . . . . . . . . . . . . . . . . . . . . . . . . . .7

Installing the Stand

Mounting the Cinema i On A Wall . . . . . . . . . . . . . . . .8

Dispersion Interactions . . . . . . . . . . . . . . . . . . . . . . . . .11

Controlled Horizontal Dispersion

Controlled Vertical Dispersion

Three Major Types of Dispersion . . . . . . . . . . . . . . . . .12

Home Theater . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .13

Electrostatic Advantages . . . . . . . . . . . . . . . . . . . . . . . .14

MartinLogan Exclusives . . . . . . . . . . . . . . . . . . . . . . . . .15

Curvilinear Line Source

MicroPerf Stator

Plasma Deposited Film

Transducer Integrity

Low Voltage Power

Electrostatic Loudspeaker History . . . . . . . . . . . . . . . .16

Frequently Asked Questions . . . . . . . . . . . . . . . . . . . . .18

Troubleshooting . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .20

General Information . . . . . . . . . . . . . . . . . . . . . . . . . . .21

Specifications

Warranty and Registration

Service

Glossary of Audio Terms . . . . . . . . . . . . . . . . . . . . . . . .22

Congratulations! You have invested in a new world of

home cinema!

The MartinLogan Cinema i represents the culmination of

an intensive, dedicated group research program directed

toward establishing a world class reference monitor utilizing

leading-edge technology, without compromising durability,

reliability, craftsmanship or aesthetic design.

The advantages of MartinLogan hybrid technology will

present themselves to you from the moment the movie

begins. The box effect (a phenomenon similar to cupping

your hand around your mouth when speaking) produced

by dynamic midrange drivers is absent and the natural

openness of the human voice comes through. Never before

in home theater has the midrange been so clear. Sounds float

around the screen clearly defining the area from where

they were created, not the area of the speaker that created

them. This superior performance is made possible through

the use of our proprietary curved electrostatic transducer.

This is the same design technology that is used in the

state-of-the-art MartinLogan loudspeaker systems.

The materials in your new Cinema i speaker are of the high-

est

quality and will provide years of enduring enjoyment

and

deepening respect. The cabinetry is constructed from

the highest quality composite material for acoustical integrity

and is finished with our attractive custom finish.

Through rigorous testing, the curvilinear electrostatic panel

has proven itself to be one of the most durable and reli-

able transducers available today. Fabricated from a custom

tool punched high-grade steel, the patented panel is coat-

ed with a special polymer that is applied via a proprietary

electrostatic bonding process. This panel assembly houses

a membrane just 0.0005 of an inch thick. Ruggedly con-

structed and insulated, as much as 150 watts of continuous

power has driven the Cinema i’s energized diaphragm

into massive excursions with no deleterious effects.

The other sections of your User’s Manual will explain in

detail the operation of your Cinema i speaker and the philoso-

phy applied to their design. A clear understanding of

your speakers will insure that you obtain maximum perfor-

mance and pleasure from this most exacting transducer. It has

been designed and constructed to give you years of trouble-

free listening enjoyment.

Contents Introduction

Installation in Brief 3

INSTALLATION IN BRIEF

We know you are eager to hear your new Cinema i center

channel, so this section is provided to allow fast and easy

set up. Once you have it operational, please take the time to

read, in depth, the rest of the information in this manual. It

will give you perspective on how to attain the greatest

possible performance from this most exacting transducer.

If you should experience any difficulties in the setup or

operation of your Cinema i speaker, please refer to the

Operation or Installation sections of this manual.

Should you encounter a persistent problem that cannot be

resolved, please contact your authorized MartinLogan

dealer. They will provide you with the appropriate technical

analysis to alleviate the situation.

WARNING!

•Hazardous voltages exist inside—do not

remove cover.

•Refer servicing to a qualified technician.

•To prevent fire or shock hazard, do not

expose this module to moisture.

•Turn amplifier off and unplug speaker

should any abnormal conditions occur.

•Do not operate if there is any visual

damage to the electrostatic panel element.

•Do not drive speaker beyond its rated power.

Step 1: Unpacking

Remove your new Cinema i speaker from the packing.

Step 2: Placement

Place the Cinema i directly between your front left and

right speakers. This is a good place to start. Please see the

Installation section (page 6–10) of this manual for more

placement details.

Step 3: Power Connection (see warning)

The Cinema i requires power to energize its electrostatic

panel. Plug the provided power supply first into the Power In

power receptacle on the rear panel of the speaker

, making

sure that you have made a firm

connection, and then to a

convenient wall outlet. Please see the Operation section

(pages 4–5) of this manual for more details.

Step 4: Signal Connection

Use the best speaker cables you can. Higher quality cables,

available from your specialty dealer, are recommended

and will give you superior performance. Spade connectors

are suggested for optimum contact and ease of installation.

Attach your speaker cables to the signal input section on

the rear panel. Be consistent when connecting speaker leads

to the terminals on the back of the Cinema i. Take great

care to assign the same color to the (+) terminal on both

the speaker and the amplifier. Please see the Operation

section (pages 4–5) of this manual for more details.

Step 5: Listen and Enjoy

Now, you may turn on your system and enjoy!

The lightning bolt flash with arrowhead symbol, within

an equilateral triangle, is intended to alert the user to

the presence of uninsulated “dangerous voltage” within

the product’s enclosure that may be of sufficient mag-

nitude to constitute a risk of electric shock.

The exclamation point within an equilateral triangle is

intended to alert the user to the presence of important

operating and maintenance (servicing) instructions in

the literature accompanying the appliance.

Installation in Brief

Your Cinema i speaker uses an external low-voltage power

supply to energize its electrostatic panel. For this reason

the proper low-voltage power supply is provided. The

power supply should be firmly inserted into the ‘Power In’

receptacle on the rear connection panel of the speaker,

then to any convenient AC wall outlet (see figure 1). Your

Cinema i integrates a signal sensing circuit which will

switch the Cinema i off after a few minutes of no music

signal, and requires less than two seconds to recharge the

panel when a music signal is present.

Your Cinema i speakers are provided with a power supply

for the power service supplied in the country of original

consumer sale. The AC power rating applicable to a par-

ticular unit is specified both on the packing carton and on

the power supply.

If you remove your Cinema i speakers from the country of

original sale, be certain that the AC power supplied in any

subsequent location is suitable before connecting the low-

voltage power supply. Substantially impaired performance

or severe damage may occur to a Cinema i speaker if oper-

ation is attempted from an incorrect AC power source.

WARNING! The power supply should not be

installed, removed, or left detached from the speak-

er while connected to an AC power source.

Signal Connection

Use the best speaker cables you can. The length and type

of speaker cable used in your system will have an audible

effect. Under no circumstance should a wire of gauge

higher (thinner) than #16 be used. In general, the longer

the length used, the greater the necessity of a lower gauge,

and the lower the gauge, the better the sound, with

diminishing returns setting in around #8 to #12.

A variety of speaker cables are now available whose

manufacturers claim better performance than standard heavy

gauge wire. We have verified this in many cases, and the

improvements available are often more noticeable than the

differences between wires of different gauge. The effects

of cables may be masked if the equipment is not of the

highest quality.

Low-Voltage Power Connection

OPERATION

4 Operation

Figure 2. Single wire connection. One channel shown.

Figure 1. Power connection. One channel shown.

We also recommend, if possible, that short runs of speaker

cable connect the power amplifier and speaker and that

high quality long interconnect cables be used to connect

the preamplifier and power amplifier. This results in the

power amplifiers being close to the speakers, which may

be practically or cosmetically difficult, but if the length of

the speaker cables can be reduced to a few meters, sonic

advantages may be obtained.

Connections are done at the signal input section on the rear

electronics panel of the Cinema i (see figure 2). Use spade

connectors for optimum contact. Make certain that all of

your connections are tight.

Be consistent when connecting speaker leads to the terminals

on the back of the Cinema i. Take great care to assign the

same color to the (+) terminal on both the speaker and

the amplifier.

WARNING! Turn your amplifier off before making

or breaking any signal connections!

You may have noticed a connection on the back of your

Cinema i’s labeled ‘Power Out’. The use of this connec-

tion will allow you to daisy-chain up to five low-voltage

MartinLogan products and eliminate the need for multiple

low-voltage power supplies.

A variety of low voltage interconnect cables may be pur-

chased at your local MartinLogan dealer. Please ask them

about options to fit your specific needs.

To use this connection option choose a primary speaker

(whichever speaker is most conveinent) and connect it as

instructed in the ‘Low-Voltage Power Connection’ section

on the previous page. To attach additional speakers, run a

low-voltage interconnect cable from the ‘Power Out’ to

the next speakers ‘Power Out’.

Break-In

When you first begin to play your Cinema i speaker, it will

sound a bit bass shy. This is due to the high-quality, long-life

components used in our woofer. Our custom made, butyl

surround woofer requires at least 30 hours of break-in at

90 dB (moderate listening levels) before any critical listening.

The break-in requirements of the crossover components

(and, to a lesser degree, the electrostatic transducer) are equal.

Operation 5

Using Only One Power Supply

Figure 3. Connecting power to multiple speakers using one power supply.

6 Installation

For optimum performance the Cinema i must be tilted on

its stand towards the main listening position and directed

towards the audience’s ears (see figure 4). After you have

placed your Cinema i in its final location, support the

speaker with one hand and slightly loosen the large knobs

with the other hand. Tilt the Cinema i to the desired angle

and securely tighten each knob.

The stand, shipped installed on the Cinema i

loudspeaker, is designed for use only with the

Cinema i. Use with other appliances may result

in instability causing possible injury.

Installation Options

On the Television

If your television provides a wide, level and stable platform,

the shielded Cinema i can be placed directly on top of the

television (see figure 4). If you are using the stand, make

sure that the 4 small rubber feet are installed on the bot-

tom of the stand. If you do not want to use the stand,

please see ‘Removing the Stand’ (page 7).

On the Wall

The adjustable mount (stand) allows you to mount the

Cinema i on the wall (see figures 4 and “Mounting the

Cinema i On A Wall” pages 8–10). The adjustable mount

(stand) will allow you to tilt the Cinema i towards the lis-

tening position.

On the Floor

If placing the Cinema i on the floor is the best placement

for your system, the adjustable stand will allow you to tilt

the Cinema i towards the listening position. If you are

using the stand, make sure that the 4 small rubber feet are

installed on the bottom of the stand.

WARNING! Installation other than that described

in the body of this document requires specific

documentation from MartinLogan.

Using the Adjustable Stand

INSTALLATION

Figure 4. Cinema i installation on the floor, on a television and on a wall.

If you are using the Cinema i with its stand on top of your

television, or setting it on any type of surface make sure

that the 4 small rubber feet on the bottom of the metal stand

are installed. If the feet are not installed, please see step 4

under ‘Installing the Stand’, page 8. The Cinema i is shipped

with the stand and the 4 small rubber stand feet installed.

If you are using the Cinema i without its stand on top of

your television, or setting it on any type of surface make

sure that the 4 large hollow rubber bumper feet on the

bottom of the cabinet are installed. If these feet are not

installed, please see step 3 under ‘Removing the Stand’,

page 8. The Cinema is shipped with these 4 large hollow

rubber bumper feet not installed.

Rubber Bumper Feet

Stand Options 7

NOTE: The Cinema i is intended for use with its stand

attached in almost all installation options. Stand removal

instructions are provided in case you are using a custom

installation that does not require the use of the stand.

Required hardware (included):

(4) #8 x

/4” Phillips head wood screws, (4) hollow rubber

bumper feet

Required tools (not supplied):

/32” Allen tool, #2 Phillips head screw driver

WARNING! For safety reasons, when the Cinema i

is used without its stand, it is necessary to install the

rubber bumper feet (included in the instructions

box). The rubber feet help to prevent the Cinema i

from sliding and causing possible injury or dam-

age to the unit. Once the rubber bumper feet are

installed they should not be removed from the

Cinema i even if the mounting stand must be

reinstalled. The mounting stand can attach to the

Cinema i with the rubber bumper feet installed.

1 Prepare a flat surface with padding and sheets to protect

the Cinema i as you work on it. Disconnect any wires

and carefully place the Cinema i upside down on the

work surface, using books or pieces of cardboard to

keep the speaker from rocking.

2 Using the Allen tool remove 6 Allen bolts (3 from each

side) from the Cinema i stand (figure 5, step A).

3 Remove the stand (figure 5, step B).

NOTE: The Cinema i uses 2 types of rubber feet. The feet

refered to in the following step are large and hollow in the

middle so that a screw can pass through.

4 To install the hollow rubber bumper feet, locate the 4

small pilot holes on the bottom of the Cinema i. Insert a

#8 x

/4” Phillips head wood screw through a rubber

bumper (the wider flat surface should face the speaker

cabinet) and screw the bumper into a pilot hole. Repeat

until all 4 feet are installed. The Cinema i is now ready

for use without the stand (figure 5, step C).

Installing the Stand

NOTE: The Cinema i is intended to be used with its stand

attached in almost all installation options. Stand installation

instructions are provided in case the stand was removed.

NOTE: If the large, hollow rubber bumper feet described

in step 4 of ‘Removing the Stand’ have been installed on

the bottom of the Cinema i cabinet leave them in place

when re-installing the stand.

NOTE: The Cinema i uses 2 types of rubber feet. The feet

refered to in ‘Installing the Stand’ are small and mushroom

shaped and are installed on bottom of the metal stand.

Required hardware (included):

Assembled stand, (4) small mushroom shaped rubber feet

(may already be installed), (6)

/8“ x

/32” Allen tool button

head bolts

Required tools (not supplied):

/32” Allen tool

Removing the Stand

Figure 5. Removing the Cinema i stand.

8 Stand Options

1 Prepare a flat surface with padding and sheets to protect

the Cinema i as you work on it. Disconnect any wires and

carefully place the Cinema i upside down on the work

surface, using books or pieces of cardboard to keep the

speaker from rocking.

2 Line up the 6 holes on the metal brackets (3 per side)

with the threaded inserts on the bottom of the Cinema i

(figure 6, step A).

3 By hand, thread

/32“ Allen bolts into the front 2 threaded

inserts (1 per side) that are nearest the woofers. Then,

thread in the remaining 4 bolts (2 per side) and tighten

each one with the

/32” Allen tool (figure 6, step B).

4 Make sure that the stand’s 4 small rubber feet are installed

in the 4 outer holes located on bottom of the stands

center piece. If the small rubber feet have been removed

from the stand they can be easily reinserted by slightly

moistening the feet and twisting them into the holes

with firm pressure (figure 6, step C).

5 Place the Cinema i in the desired location. Make certain

it is stable, secure, and protected from being bumped.

NOTE: These instructions describe how to remove the stand

from the Cinema i and mount it to the wall. MartinLogan

recommends using 6 wall anchors to secure the Cinema i

to the wall. Most installations will use the outer 4 holes and

two center holes. The outer two sets of holes are 16” on

center. If any of the sets of holes hits a stud, it is recom-

mended to directly screw into the stud.

Required hardware (included):

(6) wall anchors, (6) 1“ Phillips head screws

Required tools (not supplied):

/32” Allen tool, a 2 ft. level or a 2 ft. board and a small

level, an electric drill and

/4“ and

/8“ drill bits, Phillips

screw driver

NOTE: These instructions assume the mounting surface is

of wood frame and standard sheetrock construction. If you

wish to mount the Cinema to another type of material or

construction, you should consult a bonded contractor.

WARNING! This operation requires 2 people. Do

not attempt to install your Cinema i on a wall or

ceiling by yourself

WARNING! For safety reasons, the Cinema i is

shipped with four small rubber feet installed on

the bottom of the metal stand. If the stand is being

mounted on a wall, these small rubber feet must

be removed.

1 Prepare a flat surface with padding and sheets to protect

the speaker as you work on it. Disconnect any wires and

carefully place the Cinema i upside down on the work

surface, using books or pieces of cardboard to keep the

speaker from rocking.

2 Make sure that the 4 small rubber feet on the bottom of

the Cinema i’s metal stand are removed. If they are not,

do so at this time by gently pulling and rocking them out

of the holes (figure 7, step A).

Mounting the Cinema i On A Wall

Figure 6. Attaching the Cinema i stand.

3 Using a

/32” Allen tool remove the 6 allen bolts that

attach the stand, 3 each side (figure 7, step B).

4 Remove the stand (figure 7, step C).

5 Unscrew the two large knobs and remove the center part

of the stand. Set the 2 bolts, 2 rubber washers, 2 plastic

washers and the large knobs nearby (figure 8, step D).

6 Locate and mark the center point where you would like

the top of the Cinema i. Measure 17 inches horizontally

in each direction from the center point. This area must

be clear of obstructions in order to mount the Cinema i.

Also, make certain there will be at least 6 inches of clear-

ance above the center point and 17 inches below in

order to install the knobs and tilt the speaker up or down

(figure 9, step E).

7 Using a

/8" bit, drill a pilot hole. If you happen to hit a

stud during this step, DO NOT install the wall anchor

and immediately proceed to the next step. If you do

not hit a stud during this step, use a

/4" bit to widen the

pilot hole. Using a Phillips screwdriver install a wall

anchors so it is flush with the wall (figure 10, step F).

8 Place the center piece of the Cinema i stand against the

wall and align its uppermost center hole over the anchor

installed in step 7. Using a 1“ Phillips head screw, mount

the Cinema i stand to the wall. Do not fully tighten the

screw as you must first level the stand before marking

the remaining holes (figure 10, step G).

9 Place a level across the top edge of the Cinema i stand

and make sure that it is level. Mark the wall through the

center of each of the 4 outer holes and the lower, center

hole in the Cinema i stand (figure 11, step H).

Stand Options 9

Figure 7. Removing the Cinema i stand.

Figure 8. Removing the brackets.

Figure 9. Make sure the wall is free from obtrusions.

Figure 10. Drive a wall anchor through the top/center point and attach the stand.

Figure 11. Level the stand and mark the 5 outer points.

10 Remove the Cinema i stand from the wall and prepare

the wall at each of the 5 marks using the procedure

described in step 7 (figure 12, step I).

11 With the help of an assistant, place the center part of

the stand against the wall and attach it using the (6) 1“

Phillips head screws. Tighten the screws but be very

careful not to over tighten them and strip out the wall

or wall anchors (figure 13, step J).

12 Starting with 1 bracket, place a carriage bolt through the

protruding arm of the bracket (not the piece installed

on the wall). The bolt should face away from the brack-

ets large, flat shelf. Place a large rubber washer on the

bolt, so that it is between the bracket and the stand.

Push the bolt through the protruding stand arm so that

the bolt points toward the center of the stand. Place a

small plastic washer over the bolt and thread on to the

large knob. Hand tighten so that the bolt is flush with

the metal and repeat this step for the other side. Make

certain the brackets stick out like wings and are parallel

to the floor. Tighten each large knob (figure 14, step K).

13 Set the Cinema i on the brackets and continue to sup-

port the speaker. By hand, thread the

/32” button head

Allen screws into the front 2 threaded inserts that are

closest to the woofers. Next, thread in the 4 remaining

screws. Tighten each screw with the

/32” Allen wrench

(figure 15, step L).

10 Stand Options

Figure 12. Remove the stand and drive in the 5 remaining wall anchors.

Figure 13. Attach the stand to the wall.

Figure 14. Attach the brackets to the stand.

Figure 15. Attach the Cinema i to the brackets.

Dispersion Interactions 11

The concave electrostatic panel launches a 30 degree

dispersion pattern when viewed from above. The sound

waves focus in front of the speaker and diverge much

like a lens would cause light to focus and diverge. This

horizontal dispersion field operates in the same manner

as our traditional curvilinear line source (CLS) technology,

giving you a choice of good seats for the performance

while minimizing interaction with side walls (see figure 16).

As you can see from the illustrations, your Cinema i speaker

projects a controlled dispersion pattern (see figure 17). This

vertical dispersion profile minimizes interactions with the

floor and the ceiling.

Controlled Horizontal Dispersion Controlled Vertical Dispersion

Figure 16. The MartinLogan Cinema i delivers a 30 degree wave launch

dispersion pattern distributed horizontally.

Figure 17. The MartinLogan Cinema i vertical dispersion profile minimizes

interactions with the floor and ceiling.

DISPERSION INTERACTIONS

12 Dispersion Interactions

Figure 18–19. As can be seen here, point source

concepts invite a great deal of room interaction.

While delivering good frequency response to a

large listening audience, imaging is consequently

confused and blurred.

Figure 20–21. Even though they suffer from

“venetian blind” effect, angled multiple panel

speakers can deliver good imaging, but only

to specific spots in the listening area.

Figure 22–23. A controlled 30-degree cylindri-

cal wave-front, a MartinLogan exclusive, offers

optimal sound distribution with minimal room

interaction. The result is solid imaging with a

wide listening area.

Three Major Types of Dispersion

In the field of loudspeaker design, it is a known fact that as

the sound wave becomes progressively smaller than the

transducer producing it, the dispersion of that wave

becomes more and more narrow, or directional. This fact

occurs as long as the transducer is a flat surface. Large flat

panel speakers exhibit venetian blind effects due to this

phenomenon. This is why most manufacturers opt for

small drivers (i.e. tweeters and midrange) to approximate

what is known as a point source wave launch.

Historically, most attempts to achieve smooth dispersion

from large flat panel transducers resulted in trade-offs. After

exhaustive testing of these different solution attempts, we

found an elegantly simple, yet difficult to execute solution.

By curving the radiating surface, we create the effect of a

horizontal arc. This allows the engineers at MartinLogan to

control the high frequency dispersion pattern of our transduc-

ers. That is why you see the gentle curve on our products.

HOME THEATER

Home Theater 13

Figure 24. Ascent i speakers as front channels, Cinema i as the center channel,

Script i speakers as side surround (effects) channels, and Depth subwoofers

as 0.1 (effects) channel.

It had long been the practice of stereo buffs to connect their

television to a stereo system. The advantage was the use of

the larger speakers and more powerful amplifier of the

stereo system. Even though the sound was greatly improved, it

was still mono and limited by the broadcast signal.

In the late 1970’s and early 1980’s two new home movie

formats became widely available to the public: VCR and

laser disc.

By 1985, both formats had developed into very high quality

audio/video sources. In fact, the sonic performance of some

video formats exceeded audio-only formats. Now, with

theater-quality sound available at home, the only element

missing was the "surround sound" presentation found in

movie houses.

Fortunately, Dolby and DTS-encoded movies (which include

almost all movies) have the same surround sound informa-

tion encoded on home releases as the theater films. All that

is required to retrieve this information is a decoder and

additional speakers and amps to reproduce it.

Home theater is a complex purchase and we recommend

that you consult your local MartinLogan dealer, as they are

well versed in this subject.

Each piece of a surround system can be purchased

separately. Take your time and buy quality. No one has

ever complained that the movie was too real. The following

list and descriptions will give you only a brief outline of the

responsibilities and demands placed on each speaker.

Front Left and Front Right

If these speakers will be the same two used for your stereo

playback, they should be of very high quality and able to

play loudly (over 102 dB) and reproduce bass below 80 Hz.

Center Channel

This is the most important speaker in a video system, as

almost all of the dialogue and a large portion of the front

speaker information is reproduced by the center channel.

It is important that the center speaker be designed by

the same manufacturer as the front speakers, and that it is

recommended for use as a center speaker. This is not the

place to cut corners.

Surround Speakers

We recommend that the surround speakers play down

to 80 Hz or below. The surround speakers contain the

information that makes it appear that planes are flying over

your head. Some may suggest that this is the place to save

money and purchase a small, inexpensive speaker. If you

choose to do so, be prepared to upgrade in the future as

discrete six-channel digital encoding becomes available

and the demands on the surround speakers increase.

Subwoofer

With any good surround system you will need a high-quality

subwoofer (the .1 in a 5.1 channel surround system). Most

movie soundtracks contain large amounts of bass informa-

tion as part of the special effects. Good subwoofers will

provide a foundation for the rest of the system.

Home Theater

How can sound be reproduced by something that you are

able to see through? Electrostatic energy makes this possible.

Where the world of traditional loudspeaker technology

deals with cones, domes, diaphragms and ribbons that

are moved with magnetism, the world of electrostatic

loudspeakers deals with charged electrons attracting and

repelling each other.

To fully understand the electrostatic concept, some back-

ground information will be helpful. Remember when you

learned in a science or physics class that like charges repel

each other and opposite charges attract each other? Well,

this principle is the foundation of the electrostatic concept.

An electrostatic transducer consists of three pieces: the

stators, the diaphragm and the spacers (see figure 25). The

diaphragm is what actually moves to excite the air and

create music. The stator’s job is to remain stationary, hence

the word stator, and to provide a reference point for the

moving diaphragm. The spacers provide the diaphragm with

a fixed distance in which to move between the stators.

As your amplifier sends music signals to an electrostatic

speaker, these signals are changed into two high-voltage

signals that are equal in strength but opposite in polarity.

These high voltage signals are then applied to the stators.

The resulting electrostatic field, created by the opposing

high voltage on the stators, works simultaneously with

and against the diaphragm, consequently moving it back

and forth, producing music. This technique is known as

push-pull operation and is a major contributor to the sonic

purity of the electrostatic concept due to its exceptional

linearity and low distortion.

Since the diaphragm of an electrostatic speaker is uniformly

driven over its entire area, it can be extremely light and

flexible. This allows it to be very responsive to transients,

thus perfectly tracing the music signal. As a result, great

delicacy, nuance and clarity is possible. When you look at

the problems of traditional electromagnetic drivers, you

can easily see why this is so beneficial. The cones and

domes which are used in traditional electromagnetic

drivers cannot be driven uniformly because of their design.

Cones are driven only at the apex. Domes are driven at

their perimeter. As a result, the rest of the cone or dome

is just “along for the ride.” The very concept of these

drivers requires that the cone or dome be perfectly rigid,

damped and massless. Unfortunately, these conditions are

not available in our world today.

To make these cones and domes move, all electromagnetic

drivers must use voice coils wound on formers, spider

assemblies, and surrounds to keep the cone or dome in

position (see figure 26). These pieces, when combined

with the high mass of the cone or dome materials used,

make it an extremely complex unit with many weaknesses

and potential for failure. These faults contribute to the

high distortion products found in these drivers and is a

tremendous disadvantage when you are trying to change

motion as quickly and as accurately as a loudspeaker

must (40,000 times per second!).

Figure 25. Cut away view of an electrostatic transducer. Notice the sim-

plicity due to minimal parts usage.

Figure 26. Cut away view of a typical moving coil driver. Notice the com-

plexity due to the high number of parts.

ELECTROSTATIC ADVANTAGES

14 Electrostatic Advantages

Electrostatic Advantages

Since the beginning of audio, achieving smooth dispersion

has been a problem for all loudspeaker designers. Large

panel transducers present even more of a challenge

because the larger the panel, the more directional the dis-

persion pattern becomes.

Full range electrostats have long been one of the most

problematic transducers because they attain their full

range capabilities via a large surface area. It looked as if

they were in direct conflict to smooth dispersion and

almost every attempt to correct this resulted in either poor

dispersion or a serious compromise in sound quality.

After extensive research, MartinLogan engineers discovered

an elegantly simple solution to achieve a smooth pattern

of dispersion without degrading sound quality. By curving

the horizontal plane of the electrostatic transducer, a con-

trolled horizontal dispersion pattern could be achieved, yet

the purity of the almost massless electrostatic diaphragm

remained uncompromised. After creating this technology,

MartinLogan developed the production capability to bring

it out of the laboratory and into the market place.

You will find this proprietary MartinLogan technology used

in all of our products. It is one of the many reasons behind

our reputation for high quality sound with practical usability.

This is also why you see the unique “see through” cylindrical

shape of all MartinLogan products.

MicroPerf

Stator

The MicroPerf stator design reduces the size of individual

holes in a stator, allowing more openings per square inch

than a standard MartinLogan stator. This maximizes effi-

ciency and dispersion of small stat panels and also increases

optical clarity. In addition, the tighter grid of holes permits the

MicroPerf stator to drive the diaphragm extremely uniformly.

The diaphragm in the Cinema i employs an extremely

sophisticated conductive surface that has been applied to

the polymer surface at an atomic level using a plasma

bonding process. A proprietary compound is driven into

the surface of the polymer film in an oxygen free argon

chamber. This process allows extremely uniform surface

resistivity characteristics, an optically transparent surface

and adds no mass to the diaphragm. This uniform surface

resistivity controls the electrostatic charge on the

diaphragm surface and regulates its migration. As a result,

no discharging or “arcing” can occur.

Transducer Integrity

All MartinLogan transducers begin with two pieces of high-

grade, cold rolled steel. These steel pieces are then custom

perforated and insulated with a unique composite coating.

This proprietary coating insulates the stator to three times

its actual needed working voltage and gives the Cinema i a

wide margin of safe operation. In addition to the electrical

insulation properties, this coating also provides the Cinema i

with a durable, attractive finish that dampens the steel to

prevent ringing. These pieces then sandwich a proprietary

diaphragm and spacers into a curved geometry, and bond

together with aerospace adhesives whose strength exceeds

that of welding.The result of these advanced technologies

is a transducer that is attractive, durable, highly rigid, well

dampened, and neutral.

Low Voltage Power

To eliminate the need for a traditional IEC power cord and

broaden ease of installation, especially for custom installers,

the Cinema i features a low-voltage power supply.

Curvilinear Line Source (CLS

) Plasma Deposited Diaphragm

MartinLogan Exclusives 15

MARTINLOGAN EXCLUSIVES

16 Electrostatic Loudspeaker History

ELECTROSTATIC LOUDSPEAKER HISTORY

In the late 1800s, any loudspeaker was considered exotic.

Today, most of us take the wonders of sound reproduction

for granted.

It was 1880 before Thomas Edison had invented the first

phonograph. This was a horn-loaded diaphragm that was

excited by a playback stylus. In 1898, Sir Oliver Lodge

invented a cone loudspeaker, which he referred to

as a “bellowing telephone”, that was very similar to the

conventional cone loudspeaker drivers that we know

today. However, Lodge had no intention for his device to

reproduce music because in 1898 there was no way to

amplify an electrical signal! As a result, his speaker had

nothing to offer over the acoustical gramophones of the

period. It was not until 1906 that Dr. Lee DeForrest invent-

ed the triode vacuum tube. Before this, an electrical signal

could not be amplified. The loudspeaker, as we know it

today, should have ensued then, but it did not. Amazingly,

it was almost twenty years before this would occur.

In 1921, the electrically cut phonograph record became a

reality. This method of recording was far superior to the

mechanically cut record and possessed almost 30 dB of

dynamic range. The acoustical gramo-

phone couldn’t begin to reproduce all

of the information on this new disc. As

a result, further developments in loud-

speakers were needed to cope with

this amazing new recording medium.

By 1923, Bell Telephone Laboratories made the decision to

develop a complete musical playback system consisting of an

electronic phonograph and a loudspeaker to take

advantage

of the new recording medium. Bell Labs

assigned the pro-

ject to two young engineers, C.W. Rice and E.W. Kellogg.

Rice and Kellogg had a well equipped laboratory at their

disposal. This lab possessed a vacuum tube amplifier with

an unheard of 200 watts, a large selection of the new

electrically cut phonograph records and a variety of

loudspeaker prototypes that Bell Labs had been collecting

over

the past decade. Among these were Lodge’s cone, a

speaker

that used compressed air, a corona discharge

(plasma) speaker, and an electrostatic speaker.

After a short time, Rice and Kellogg had narrowed the field

of “contestants” down to the cone and the electrostat. The

outcome would dictate the way that future generations

would refer to loudspeakers as being either “conventional”

or “exotic”.

Bell Laboratory’s electrostat was something to behold.

This enormous bipolar speaker was as big as a door. The

diaphragm, which was beginning to rot, was made of a

pig intestine that was covered with fine gold leaf to con-

duct the audio signal.

When Rice and Kellogg began playing the new electrically

cut records through the electrostat, they were shocked

and impressed. The electrostat performed splendidly.

They had never heard instrumental timbres reproduced

with such realism. This system sounded like real music

rather than the honking, squawking rendition of the

acoustic gramophone. Immediately, they knew they were

on to something big. The acoustic gramophone was des-

tined to become obsolete.

Due to Rice and Kellogg’s enthusiasm, they devoted a

considerable amount of time researching the electrostatic

design. However, they soon encountered the same diffi-

culties that even present designers face; planar speakers

require a very large surface area to

reproduce the lower frequencies of

the audio spectrum. Because the

management at Bell Labs considered

large speakers

unacceptable, Rice

and Kellogg’s

work on electrostatics

would never be put to use for a com-

mercial product. Reluctantly, they advised the Bell

management to go with the cone. For the next 30 years,

the electrostatic design lay dormant.

During the Great Depression of the 1930s, consumer audio

almost died. The new electrically amplified loudspeaker

never gained acceptance, as most people continued to use

their old Victrola-style acoustic gramophones. Prior to the

end of World War II, consumer audio saw little, if any,

progress. However, during the late 1940s, audio experi-

enced a great rebirth. Suddenly there was tremendous

interest in audio products, and with that, a great demand

for improved audio components. No sooner had the cone

become established than it was challenged by products

developed during this new rebirth.

In 1947, Arthur Janszen, a young Naval engineer, took part in

a research project for the Navy. The Navy was interested

Rice and Kellogg had

narrowed the field of

“contestants” down to the

cone and the electrostat.

ESL History

Electrostatic Loudspeaker History 17

developing a better instrument for testing microphone

arrays. The test instrument needed an extremely accurate

speaker, but Janszen found that the cone speakers of the

period were too nonlinear in phase and amplitude response

to meet his criteria. Janszen believed that electrostats were

inherently more linear than cones, so he built a

model

using

a thin plastic diaphragm treated with a conductive coating.

This model confirmed Janszen’s beliefs, for it exhibited

remarkable phase and amplitude linearity.

Janszen was so excited with the results

that he continued research on the elec-

trostatic speaker on his own time. He

soon thought of insulating the stators to

prevent the destructive effects of arcing.

By 1952, he had an electrostatic tweeter

element ready for commercial produc-

tion. This new tweeter soon created a sensation among

American audio hobbyists. Since Janszen’s tweeter element

was limited to high frequency reproduction, it often found

itself used in conjunction with woofers—most notably,

those from Acoustic Research. These systems were highly

regarded by all audio enthusiasts.

As good as these systems were, they would soon be sur-

passed by another electrostatic speaker.

In 1955, Peter Walker published three articles regarding

electrostatic loudspeaker design in Wireless World, a

British magazine. In these articles, Walker demonstrated

the benefits of the electrostatic loudspeaker. He explained

that electrostatics permit the use of diaphragms that are

low in mass, large in area and uniformly driven over their

surfaces by electrostatic forces. Due to these characteristics,

electrostats have the inherent ability to produce a wide

bandwidth, flat frequency response with distortion products

being no greater than the electronics driving them.

By 1956, Walker backed up his articles by introducing a con-

sumer product, the now famous Quad ESL. This speaker

immediately set a standard of performance for the audio

industry due to its incredible accuracy. However, in actual

use, the Quad had a few problems. It could not be played

very loud, it had poor bass performance, it presented a

difficult load that some amplifiers did not like, its dispersion

was very directional and its power handling was limited to

around 70 watts. As a result, many people continued to

use box speakers with cones.

In the early 1960s Arthur Janszen joined forces with the

KLH loudspeaker company, and together they introduced

the KLH 9. Due to the large size of the KLH 9, it did not

have as many limitations as the Quad. The KLH 9 could

play markedly louder and lower in frequency than the

Quad ESL. Thus a rivalry was born.

Janszen continued to develop electrostatic designs. He

was instrumental in the design of the Koss Model One, the

Acoustech and the Dennesen speak-

ers. Roger West, the chief designer

of the Janszen Corporation, became

the president of Sound Lab.

When

Janszen Corporation was

sold, the

RTR loudspeaker company bought

half of the production tooling. This

tooling was used to make the

elec-

trostatic panels for the Servostatic, a hybrid electrostatic

system that was Infinity’s first speaker product. Other

companies soon followed; each with their own unique

applications of the technology. These include Acoustat,

Audiostatic, Beverage, Dayton Wright, Sound Lab and Stax,

to name a few.

Electrostatic speakers have progressed and prospered

because they actually do what Peter Walker claimed they

would. The limitations and problems experienced in the

past were not inherent to the electrostatic concept. They

were related to the applications of these concepts.

Today, these limitations have been resolved. Advancements

in materials due to the U.S. space program give designers

the ability to harness the superiority of the electrostatic

principle. Today’s electrostats use advanced insulation

techniques or provide protection circuitry. The poor disper-

sion properties of early models have been addressed by

using delay lines, acoustical lenses, multiple panel arrays

or, as in our own products, by curving the diaphragm.

Power handling and sensitivity have also been increased.

These developments allow the consumer the opportunity

to own the highest performance loudspeaker products ever

built. It’s too bad Rice and Kellogg were never able to see

just how far the technology would be taken.

These developments allow

the consumer to own the

highest performance loud-

speaker products ever built.

18 Frequently Asked Questions

FREQUENTLY ASKED QUESTIONS

How do I clean my speakers?

Just use a dust free cloth or a soft brush to remove the dust

from your speakers. We recommend a specialty cloth

(available at the Xtatic shop at www.martinlogan.com)

that cleans your speakers better than anything else we

have tried. Do not spray any kind of cleaning agent

on or in close proximity to the electrostatic element.

What is the advantage of ESL?

Since the diaphragm is uniformly driven over its entire

surface—unlike a tweeter that is only driven at its edges—

it is the only technology that can be made large enough to

play bass, yet is still light enough for high frequencies. This

unique property allows for the elimination of high fre-

quency crossover points and their associated distortions.

What size amplifier should I use?

We recommend an amplifier with 100 to 200 watts per

channel for most applications. Probably less would be

adequate for our smaller hybrids or when used in

home theater where a subwoofer is employed. Our

hybrid designs will perform well with either a tube or

transistorized amplifier, and will reveal the sonic char-

acter of either type. However, it is important that the

amplifier be stable operating into varying impedance

loads: a stable amplifier will be able to deliver twice its

rated wattage into 4 Ohms and should again double

into 2 Ohms.

Could you suggest a list of suitable electronics and

cables that would be ideal for MartinLogan speakers?

The area of electronics and cable choice is probably

the most common type of question that we receive. It

is also the most subjective. We have repeatedly found

that brands that work well in one setup will drive some-

one else nuts in another. We use many brands with

great success. Again, we have no favorites; we use elec-

tronics and cables quite interchangeably. We would

suggest listening to a number of brands—and above all

else—trust your ears. Dealers are always the best

source for information when purchasing additional

audio equipment.

Is there likely to be any interaction between my speakers

and the television in my Audio/Video system?

Actually, there is less interaction between a television

and an electrostatic speaker than between a television

and a conventional system. However, we do recom-

mend that you keep your speakers at least one foot

away from the television because of the dynamic woofer

they employ. In the case of our center channel speakers,

however, they are fully shielded and can go anywhere.

Will my electric bill go ‘sky high’ by leaving my speakers

plugged in all the time?

No. A pair of MartinLogans will draw about 5 watts max-

imum. There is circuitry to turn off the static charge when

not in use; however, actual consumption will remain close

to the same. The primary purpose of the sensing circuitry

is to prevent dust collection on the electrostatic element.

If the diaphragm is punctured with a pencil or similar

item, how extensive would the damage to the speaker be?

Our research department has literally punctured hundreds

of holes in a diaphragm, neither affecting the quality of

the sound nor causing the diaphragm to rip. However,

you will be able to see the actual puncture and it can

be a physical nuisance. If this is the case, replacing the

electrostatic transducer will be the only solution.

Will exposure to sunlight affect the life or performance

of my speakers?

We recommend that you not place any loudspeaker in

direct sunlight. The ultraviolet (UV) rays from the sun can

cause deterioration of grill cloth, speaker cones, etc. Small

exposures to UV will not cause a problem. In general,

the filtering of UV rays through glass will greatly reduce

the negative effects on the electrostatic membrane itself.

Frequently Asked Questions

Frequently Asked Questions 19

Will excessive smoke or dust cause any problems with

my electrostatic speakers?

Exposure to excessive contaminants such as smoke

or dust may potentially affect the performance of the

electrostatic membrane, and may cause discoloration

of the diaphragm membrane. When not in use for

extended periods, you should unplug the speakers and

cover them with the plastic bags in which the speakers

were originally packed. It is a good idea to vacuum the

electrostatic portion of each speaker once or twice a

year. See the vacuuming FAQ.

A problem has recently developed with my MartinLogan

speakers. The right speaker seems to be hissing even

when the amplifier and such are not connected. I was

wondering if this sounds like any problem you have

encountered previously and have a simple solution for

or might it be something which will need to be looked

into more carefully.

Your speakers are dusty. See the vacuuming FAQ. The

electrostatic charge on the element has attracted airborne

dust or pollen. Since 1993, all of our speakers have been

built with a charging circuit board that only charges the

electrostatic element when music plays. At other times

they are not charged and cannot collect dust. You can get

the same benefit by simply unplugging them whenever

they are not in use. A power strip is an easy way to do that.

Could my children, pets, or myself be shocked by the

high-voltage present in the electrostatic panel?

No. High voltage with low current is not dangerous. As a

matter of fact, the voltage in our speakers is 10 times

less than the static electricity that builds up on the surface

of your television screen.

How do MartinLogan speakers hold up over a long term

in the humidity of tropical climates?

We should tell you that MartinLogan indeed has a very

substantial number of customers in tropical regions of

the world. Our speakers have been serving them nicely for

many years. This concern may have come from our earlier

design of speakers, which were charged continuously.

Since 1993, all of our speakers have been designed so that

they only charge the panel while music is being played.

This improvement has made a tremendous difference

in the consistent performance of our product. There may

be a little more maintenance involved in humid regions

when not in an air conditioned environment. Simply

enough, the concern is to keep the electrostatic panels

dust free. Humidity will combine with any dust on the

panel to make it slightly conductive. This will result in a

slight pathway for the charge to leave the membrane of

the speaker. The solution is simple. They only require

occasional vacuuming with a strong vacuum hose.

How do I vacuum my MartinLogan speakers?

Vacuuming will be most effective if the speakers have

been unplugged for six hours or overnight. You need

not worry about the vacuum pressure damaging the

"delicate" membrane. It is extraordinarily durable

Dirt and dust may be vacuumed off with a brush attach-

ment connected to your vacuum cleaner, or you may

blow them off with compressed air.

Should I unplug my speakers during a thunderstorm?

Yes, or before. It’s a good idea to disconnect all of your

audio/video components during stormy weather.

20 Troubleshooting

TROUBLESHOOTING

No Output

• Check that all your system components are turned on.

• Check your speaker wires and connections.

• Check all interconnecting cables.

Weak Output from Electrostatic Panel, Loss of Highs

• Check the power cord. Is it properly connected to the

speaker and to the wall?

• Is the power cord connected to a switched outlet?

• Dirt and dust may need to be vacuumed off. Please see

the FAQ regarding vacuuming.

Popping and Ticking Sounds, Funny Noises

• These occasional noises are harmless and will not hurt

your audio system or your speakers. All electrostatic

speakers are guilty of making odd noises at one time or

another. It is the result of airborne contaminates (most

notably dust). Vacuuming is recommended.

• These noises may be caused by dirt and dust particles

collecting on the speaker, by high humidity.

• Dirt and dust may need to be vacuumed off. Please see

the FAQ regarding vacuuming.

Troubleshooting

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